Any new album from Advance Base is going to rank near the very top of our most anticipated of a given year, but the description of newly announced full-length Horrible Occurrences couldn’t be any more exciting. A record “all centered around a fictional town called Richmond and featuring an interlinked cast of characters,” as the press release explains. “You will hear stories of death and disappearance, climactic confrontations and unsolved mysteries.” Fans of the project will recognise songs like ‘Little Sable Point Lighthouse’ and ‘How You Got Your Picture on the Wall’, but new single ‘The Year I Lived in Richmond’ is what serves as an introduction to Owen Ashworth’s most conceptual release to date. A song which does more in three verses than the majority of published stories, and one which effortlessly displays Ashworth’s unrivalled ability to mine ostensibly ordinary lives for their brilliant slivers of heartbreak and strangeness.

Horrible Occurrences will be released on 6th December via Run For Cover and Orindal Records. Pre-order it now from the Advance Base Bandcamp page.

Anlaki – Escape ’til Dead

Based in Iruña-Pamplona, Spain, Anlaki is the bedroom music project of Julen Izkue which uses a classic DIY spirit to explore both the difficulties of adulthood and discomfort of modern life. Latest album Wind Call shows just how fun and inventive this lo-fi style can be, lovingly wrapping up a mix of slacker rock and power pop sensibilities in a warm blanket of fuzz. Single ‘Escape ’til Dead’ is the perfect example. The hazy tones are by no means a barrier to a sense of forward motion that propels things, the track embracing its title as a kind of motto to push itself onward with carefree brightness in spite of everything.

Constant Follower – All Is Well

Last month we introduced The Smile You Send Out Returns To You, the forthcoming album by Constant Follower via Last Night From Glasgow, with single ‘Whole Be’. A song about the contradiction inherent in the way we long for wholeness while acknowledging imperfection, the track not only introduced a newly ethereal sound for the outfit, but also furthered the visual element of their work through both cover art and video. Latest single ‘All Is Well’ is no different. Stephen McAll and co. mine the title for all of its complications, delving into the ways in which the contemporary reliance on comfort and convenience masks an ever-present dread below the surface of our society. It is notable that the band dedicate the song to Jake ‘Taurus Mortimer’, a young person killed in the care of NHS Forth Valley Psychiatric services back in 2023. Watch the video filmed and directed by Kris Boyle below:

The Smile You Send Out Returns To You will be released on the 28th February via Last Night From Glasgow.

The Convenience – Routiner

Duncan Troast and Nick Corson started The Convenience after meeting at Loyola University in New Orleans, using the project as a space in which to experiment within the wide genre of pop. Released in 2021 via Winspear, album Accelerator felt like the culmination of this practice, evolving the sound of their earlier releases towards its most vivid, far-reaching state. However, not satisfied to rest on their laurels, The Convenience are now pushing their boundaries again. New double single Routiner / Postcard sees the duo strike out towards a guitar-led art-rock which sits closer to the likes of Cate Le Bon and Parquet Courts. Take the first track, which is strung across a taut bassline but spins in various directions with a volatile twitching energy, capturing the push and pull of life, from deadening repetition to sharp alarm.

Routine / Postcard is out now via Winspear and available from Bandcamp.

Doctor Delia – What a Drag!!

“We literally had gendered uniforms,” explains Doctor Delia of growing up in suburban Tampa schools. “We were stuck in them like little toy soldiers. The whole time, or much of the whole time, I wanted to dress like a woman, or more feminine. Deep down I knew it felt good, and right for some reason, but there was so much shame around it.” New single ‘What a Drag!!’ serves as both a refutation of the strictures experienced during this time and a celebration of living as the person you truly are. “What a drag not to be yourself,” as the song goes, progressing with the kind of calm, assured rhythm that only comes with lessons learnt the hard way.

Holding Hour – Can I Leave Me Too?

‘Can I Leave Me Too?’, the latest track from Des Moines duo Holding Hour, is a lesson in juxtaposition. For while the song is set within the ostensibly celebratory, communal scene of a birthday party, the overriding mood is one of alienation and doubt. The sound itself follows a similarly contrasting style, its brooding undertones threatening to engulf the vocals as the percussion presses forward as though towards some imminent break or change. What results is a track full of conflict, between calmness and motion, darkness and light, not to mention that internal disquiet of a person coming to understand how they might be responsible for the less than perfect conditions of a relationship.

‘Can I Leave Me Too?’ is out now via streaming services.

Leoblu x World Wild Web – Utopia

Emerging from the heart of Berlin‘s underground music scene, ‘Utopia’ is a single which sees Leoblu and World Wild Web pair their styles into something at once ethereal and charged with vivid energy. We’ve written about the ambiguous and atmospheric sound of Julia Carlsson’s Leoblu several times in recent years, most recently with Blu Lucid Nightmare, and the addition of World Wide Web’s rhythms and beats pushes it into new territory—one still shadowed yet shot through with a kind of transcendent possibility. “’Utopia’ came from a deep place of questioning,” Carlsson explains, “both within myself and the world around us. It’s an emotional journey through grief, but also a declaration of hope, defiance and change.”

‘Utopia’ is out now via streaming services.

Melanie MacLaren – Laika

“The product of a period marked by experiences of grief, loss and illness, the new songs look to confront life in its truest state. To push beyond the myths we tell ourselves and look at mortality with a clear gaze.” So we wrote last month of the forthcoming release from  Nashville singer-songwriter Melanie MacLaren. New single ‘Laika’ is no less direct in its focus, using the tragic story of the titular Soviet space dog as a way into humanity’s propensity to exploit the vulnerable more generally, and how the powerful continue to disregard the rights and dignity of everyone else. The result is a lesson in restraint, though beneath the slow, soft folk style is a vast chasm of anger at everything we have done and continue to do.

‘Laika’ is out now and available from the usual places.

This Frontier Needs Heroes – Truck Driver

Writing back in July, we described Brad Lauretti of This Frontier Needs Heroes as “a folk artist in the traditional sense, wandering and entertaining audiences with equal parts playfulness, protest and heartbreak while always pining for places left in the rear view mirror.” Inspired by a period driving an RV across America for another artist’s tour, latest single ‘Truck Driver’ leans into this spirit more fully, injecting a sense of constant momentum to the folk rock style to equate the life of a touring musician with that of a long-haul driver. “I got to live the life of a truck driver for a few weeks,” as Lauretti says, “driving all night, sleeping in the cab, eating in gas stations, with all the crazy things that happened along the way.”

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Fallout, the forthcoming album from Grand Rapids trio Major Murphy on Winspear, is an album concerned with cycles of ruin and renewal. Drawing equally from the wells of nineties indie and seventies soft rock swagger, the sound lives up to these themes with a careful balance of lightness and weight. The result is something not so much overcome by the turbulence of our times but able to surf atop of it. Lead single ‘Time Out’ typifies the style, where the pressing momentum of the drums is matched by an easy-going spirit, highlighting the band’s ability to be at once punchy and languid.

Even water falling don’t run to an end
Somehow, somewhere it will collect
and life begins again

Marem Ladson – A Song to the Siren

Hailing from the northern Spanish region of Galicia and now based in Brooklyn, Marem Ladson makes introspective music that draws on folk and pop and her home country’s rich tradition. Following 2023 EP Baby Light, Ladson has released a standalone single, a gently haunting take on ‘Song to the Siren’, Tim Buckley’s much-covered doom-laden classic. Ladson’s version is soft and intimate but loses none of the original’s power, loneliness and longing washing together as the narrator find themselves shipwrecked in search of love. The cover originally appeared on the Musicians For a Free Palestine benefit album, a compilation organized by Babehoven’s Maya Bon, Andy Molholt and Raquel Denis, which is still available and very much worth your time.

make yourself at home – High

Hailing from Nashville, Tennessee, make yourself at home—that’s Billy Campbell (lyrics/rhythm guitar), Zach Tittel (lead guitar), Thomas Luminoso (bass) and Husam Suboh (drums)—is a band working at the intersection of shoegaze, noise rock and indie. ‘High’, their latest single via Second Floor Recording Co., serves an the ideal introduction for those unfamiliar with their sound, where angsty desperation meets carefree defiance. “Fucking up, falling down / Another year of trying not to drown,” as Campbell sings in the opening lines. “How can I say what’s on my mind / When all I wanna do is go get / high?” Hopelessness has never sounded so cool.

Nate Terepka – The Woods

“A few years back I did an exercise where I took a several-hours-long night walk in the woods of Maine and thought through every year of my life from birth to present in chronological order, remembering as much as I could,” explains Nate Terepka. “I was surprised by how many forgotten memories were stirred up and came out of it with a feeling of empathy for my younger self, as well as a strong desire to not repeat past mistakes.” He wrote new single ‘The Woods’ the next morning, the latest taste of his upcoming album Not Yet which encapsulates an EP willing to grope into the messy heart of life in order to hold aloft its love and truths. Intuitive in its rhythms yet finely crafted in style, ‘The Woods’ represents the work of an accomplished artist driven by emotional necessity. Watch the video with animation by James Thatcher below:

Not Yet is out on the 19th July and available to pre-order now via Bandcamp.

Noa Jamir – Indebted

“This is a song written for Little Noa, who often struggled with standing up for herself,” explains New Orleans-based songwriter Noa Jamir of new single ‘Indebted’. “While writing it, I channelled all of the things I wish I’d said in moments when I needed to defend myself, but felt too powerless to do so.” The resulting track presents an assured brand of folk rock which pairs an understated sound with almost conversational vocals. The track builds subtly across its runtime but never quite breaks its controlled burn, though the result is all the more powerful for it. There is no need for yelling or bombast here. The message is simple and full of conviction. Able to operate on its own terms.

I’m tougher than I look
My thoughts would scare you off
if I told you everything
And you’re not quite as tall as I recalled you to be
I used to let you look down on me
Now, we’re standing eye to eye
Eye to eye

Saffron – Star Child

Late last month, San Diego psych pop outfit Saffron released a four track cassette by way of farewell. The band, comprising mainly of Ali Mehraban Ramirez (Guitar, Vocals, & Songwriting), Galia Shakked (Guitar and Vocals), Audrey (Drums), Ryan Ebaugh (Guitar and Saxophone) and Cameron Rogers (Bass), made a name for themselves with their experimental live shows, which saw songs morph form set to set in an exercise in freedom and improvisation. The tape is a little different, presenting Saffron at their most “pop,” four songs crystallized into a final, perhaps more easily digestible form. Nowhere is this better illustrated than on final track ‘Star Child’, a sunny and easy-going, Yo La Tengo-style indie pop song that’s all shambling percussion and hooky guitar.

Solid Blood – All I Need

Penned over a span of several years between Brooklyn and Houston, Solid Blood’s new EP Western Sun feels very much a product of the various environments in which it was created. Graham W. Bell looks to preserve the small details of life amid a wider unease, carving out an introspective, inquisitive space in which we might shelter from the dire state of the world. With the EP coming soon via Rue Defense, lead single ‘All I Need’ introduces the style. Where warmth and intimacy are shadowed by an awareness of the wolves at the door.

Wanda What – Big Tree

Building on the nostalgic brand of bedroom pop that made previous LP Startin’ Drama a success, new full-length Dyke TV sees Wanda What (AKA LA’s Harmony Reynolds) push their self-described ‘dyke rock’ sound to new heights. There’s a central tension to the Wanda What project, one which might be crudely described as the friction between dreams and reality. There’s a tangible desire for the glamour and celebrity of stardom, something Reynolds owns wholeheartedly within the Wanda What persona, though this is balanced by a more earnest, down-to-earth side too. It’s no surprise then that Dyke TV vacillates between moods—playful and serious, ironic and sincere—but what makes the project so exciting is its willingness to embrace this duality. With a newfound country twang, latest single ‘Big Tree’ offers a glimpse of the human behind the personality, landing somewhere between sincere bedroom pop honesty and lonesome cowboy croon.

‘Big Tree’ is out now via Youth Riot Records and available from the usual places. Dyke TV is coming soon.

Yon Loader – Another Year

After sketching out a series of demos which would come to form his self-titled debut album, James Stuteley of Aotearoa project Yon Loader took the songs to an array of friends and collaborators who helped realise their full potential. Those involved is something of a who’s who of the New Zealand indie scene with members of acts like members of Recitals, Welcomer, For Everest, Model Home, Fouler, First Move and Bad Friend all contributing, as well as engineer and producer Harry Lilley. With the album’s release pencilled for later this year on Tiny Engines, Lead single ‘Another Year’ shows how this team elevate the Yon Loader sound into something as hefty as it is detailed, Stuteley’s intimate emo-adjacent lyricism given all the supporting momentum it deserves without being overwhelmed.

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Out with our friends at Fox Food Records, Fairytale Delirium is Yani Martinelli’s latest solo release. As the title might suggest, the album is an exploration of ethereal sounds, building from a base of bedroom pop into areas of psychedelia, dream pop and experimental folk, though it’s the authentic DIY attitude that really shines through. This is apparent from the opening title track, sparkling to life with dappled synths before the psych refrain adds a dash of New Age colour. The track swells from here, the backing instrumentation adding a depth beyond the charming simplicity of the vocals, and drawing the track away from accusations of being twee.

There’s a playful yet wistful air to ‘Spirits from Saturn’, a track that maintains a restrained bedroom pop style, while the haunting ‘Solarium’ shimmers beneath skating synths before eventually kicking into a near post-punk rhythm, though the vocals remain detached and floating, a satellite to the main body of the track.

‘Maps to the Deep Deep Ocean’ lives up to its name, blending a tropical lilt with something stranger, almost primordial, a song of teeming life and unknown expanses, though ‘Letter to the Moon’ immediately switches things from earthly depths to outer space. The here the languid style and electronic sparks pitch the listener as the person receiving the titular letters, encased within a low gravity, technological bubble, a thin layer between us and the wide arc of space.

The record closes with ‘Goin To Be’, a return to the bright and grounded pop of the opening. After the transportive styles of the previous tracks, the closer feels like snapping out of a daydream, back to quotidian life. However, in true Yani Martinelli fashion, what you find around you is not rendered dull by the experience but rather heightened, everyday life made wonderful by earnest engagement, magic lurking within the simplest of things.

Fairytale Delirium is out now via Fox Food Records and you can get it from Bandcamp.

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Speaking of language, every track on the debut Or Sobre Blau album, The Piri Piri Samplers, is named after a Portuguese phrase with a strong Catholic theme. The album was recorded in a studio in Alto São João, Lisbon, which just so happened to be opposite a large graveyard. “They remind me of the bleakness in that cemetery,” Leonard tells The Line of Best Fit of the songs’ titles, “the weird perseverance of its dark, devout language over people that are dead and structures that are in ruin.”

That thought serves as a good introduction to the record. These instrumentals are more akin to something put out by Lost Tribe Sound than the usual Memorials of Distinction fare, abstract soundscapes that crawl with claustrophobic drones and wiry guitars that come skewering to the fore from amidst a sense of atmosphere and tension. It’s like the soundtrack to some Euro acid western, playing against a backdrop of stoic hawks wheeling above the baked Iberian earth.

There’s a depth to ‘Do Menino Deus’, a kind of stereoscopic experimental track that pairs landscape-wide ruminations with picked guitar that feels a lot closer, like unseen creatures scuttling in the nearby scrub. The whole album continues like this, Serra and Leonard using their guitars to probe and search, creating something that’s unique in the way it combines the tense and the explorative, the ominous and the beautiful.

There’s wonder too in how the tracks are constructed, seemingly clashing guitars coming together in waves of constructive interference, creating a swirling whole that feels a lot more than the sum of its parts. Guitar is used as an atmospheric foil (‘Da Madalena’), as small blipped flourishes (‘De Passeio Pelo Alto De São João’), and even as pseudo percussion (‘Da Nossa Senhora Da Conceição’). ‘Mártires’ brings all this together in the album’s uneasy masterpiece, guitar as both taut mosquito-whir and deep moaning calls, evoking the feeling of watching strange lights flitting between moon-lit tombs, perhaps remnants of the martyrs of the title.

The Piri Piri Samplers is an impressive album, and one guaranteed to sound unlike anything else you’ll hear this year. Serra and Leonard make an odd couple, but as Or Sobre Blau proves, that can make for great music. “What do you find in the middle of noise and harmony?” asks label Memorials of Distinction. “A very old question, really. We know that the answer is usually endearing and a little tragic, like a bad translation.”

You can get The Piri Piri Samplers on cassette tape or name-your-price download from the Memorials of Distinction Bandcamp page.

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Both artists bring their considerable talents to the project. Heynderickx continues the rich and ultimately soothing narratives that we appreciated so much on her album I Need to Start a Garden, which we described as a record “about growth and the hope of new beginnings [that] doesn’t shy away from the necessary hard work that makes such growth possible.” Conover too continues where he left off with his solo work, which we summed up previously as music which “conjures a vast American landscape, positioning the narrator as a tiny speck upon its great dusty plains, every sunset and moonbeam charging a burning nostalgia, a yearning for someplace to call home.”

Opener ‘Slow Talkin’’ is a twirling folk song, complete with Heynderickx’s now signature natural poetry. “Was it the glory days or just a heat wave,” she sings with her probing emotion. “You got a promise land made of quick sand / You got a slow dancin’ praying mantis /Stuck inside this jar / Staring at the wall.” The track’s pseudo-chorus gives us the first taste of the two voices working together—joining forces to make a compelling rhythm and energy.

‘Francis’ is spiked and spurred, gathering in intensity despite its hushed nature, like a silent midnight horse ride from deep in the American West. As its title suggests, ‘Mother’ is a song for Heynderickx’s mother, her Asian heritage referenced with beautiful, subtle grace through lines like “Land filled with pears, and apricot hues / The lands filled with mangoes and papayas blooming.” The track is plaintive and moving, the vocals breaking with something like desperation as they detail the sense of never quite belonging in homes old and new.

The Conover-penned ‘Little Wind’ might be the record’s most evocative moment, Heynderickx’s painting vivid pictures of the Catalonian countryside as she again invokes imagery of plants and nature to approach the same rhythms and cycles we experience in our lives.

I wish that I had stayed
In that river house with you
Pulled away the weeds
And let the wild roses bloom
But all the hanging plums
Someday will go sour
Little wind I’m with you in the roadside flowers

“It took hold of me,” Heynderickx sings on ‘The Park’, “I saw a grown man crying.” The song frames her as a silent observer, a vicarious tale of feeling that situates the songwriter as a conduit for outside forces. And, while ‘Crow Song’ re-positions back to the personal perspective, a similar sensation persists. Because, whether writing confessions about themselves or imagined fictions about others, the genius of both Heynderickx and Conover is their ability to draw a relatable emotion from their subject matter—tapping into a universal sense of nostalgia and longing and presenting it back to us, shaping and polished into its most gleaming form.

You can get Among Horses III now from the Son Canciones Bandcamp page.

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Saint Clementine make what they describe as, “powerful tunes…about the end of the summer, complex relationships and teenage anxiety at our twenties”. The first EP, If We Are Falling, opens with ‘Hell Your Home, Death My Bedroom’, which proves a good introduction to the spiky and catchy punk rock that Saint Clementine deal in. Both ‘Tossing & Turning’ and ‘Sunday Night Crisis’ have the scrappy and angular breakneck pace of classic punk, producing something gloriously messy and fun.

“It’s so cool to feel alone
when you’re not on your own
toss and turn, you’re sore, you’re burnt
and there’s no way that you are happy “

Despite the influences, Saint Clementine lack that raw-throated caustic nature of a lot of punk bands, meaning their sound is more accurately described as power pop or simply noisy indie rock. The vocals are relatively melodic, the lyrics not as impossible to decipher as those of many similar bands, meaning we get the best of both worlds – punk energy and understandable, related words.

The second EP, I Wish I Knew What You Did Last Summer, opens with ‘Fake a Smile’, a lean and catchy song which sees rumbling indie rock teamed with dreamy cooing background vocals. ‘Crystal Cassels’ is tinged with an emo heaviness, while ‘The I Can’t Get Over You Blues’ does exactly what it says in the tin, a song about falling for someone you don’t even like. Saint Clementine channel The Smiths on ‘We’ll Fade’, before ‘Movie Night’ packs in lots of film references (14 by my count), and closer ‘I Believe in You’ sends a message to an as yet hypothetical true love.

“I guess,
We won’t meet until we are prepared
So in the meantime I’ll distract myself
With life and thoughts of everyone I know “

You can get If We Are Falling / I Wish I Knew What You Did Last Summer from the Z Tapes Bandcamp page or online store.

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Your dancing shoes might come in useful during ‘Dream Wild’, its surfy guitars sounding pastel pink and aquamarine as they jangle along merrily, while ‘Cool It!’ is equally pepped-up, even the slight sadness in Pender’s vocals not dampening spirits. ‘Like Always’ is a wonderfully melodic and catchy, Lender singing “I don’t think I wanna hear that / please don’t tell me how I look”, before ‘Hit and Miss’ closes the EP with a final slice of lean and energetic jangle pop, the vocals giving things a dreamy romantic vibe.

“Blue eyes keep tearin me apart
I do, I just keep fallin’
I’m sinkin’ please save me again”

You can buy Terry Vs. Tori now from Bandcamp on a pay-what-you-can basis.

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We have followed Max Holmquist’s career with some admiration, first as South of Lincoln and then Great American Desert (which we wrote about here). Holmquist is now in a band called Oquoa and they have made their album available for free. Their sound is somewhere between Water Liars and Hip Hatchet, a restrained folky rock which has darkness and grief lurking just beneath the surface. Check out ‘Cigarettes’ below.

You can download the album for free here.

A Singer of Songs – From Hello to Goodbye

Barcelona-based folkster A Singer of Songs is back with From Hello to Goodbye, another album chock full of lovely lo-fi tunes recorded in his home studio. Some tracks are delicate (‘Sand in my Shoes’), some are a little more rambunctious (such as opener ‘Another Way of Saying Hello’), and all seem to have the curious sensation of being between times, as small moments of the past are opening up in the present. Maybe it’s the use of violins, trumpets and pianos or the slightly European street music vibe on tracks like ‘I’ll Follow You’. Maybe it’s just the cartographic artwork.

A Singer of Songs is attached to the Son Canciones label, and you can buy the album now from the A Singer of Songs’ Bandcamp page.

Steve Palmer – Unblinking Sun

Steve Palmer is a “Fahey nut and guitar obsessive” who has taken lessons from American Primitivism legend Peter Lang. It is perhaps unsurprising then that Palmer makes guitar driven instrumental music that combines the finger-picking of traditional US folk with more modern sounds of drone and krautrock. The result is a collection of long, complex acoustic songs peppered with ambient and psychedelic flourishes that lend a whole jazzy improvisation feel to things.

Unblinking Sun is being released by Dying for Bad Music.

Ezkiel – A New Mask

Ezkiel is Louis Monroe from New Orleans. A New Mask is his debut release and presents four dark and cinematic folk songs which explore the themes of change and rebirth. The EP was developed almost by accident, as part of a music production class that Monroe was taking at university. Monroe himself was required to production on a singer-songwriter record, but the recording artist pulled out last minute. This forced Monroe himself to record something and A New Mask was the end result. The tracks were recorded at home and have that intimate bedroom pop vibe which I really like. Grab it now via the Ezkiel Bandcamp page.

Charlie Rayne – Wider Waters

Last but not least is Wider Waters, a brilliant album by Beirut-based Charlie Rayne. Rayne makes glorious Dylan-style folk songs which twist and turn with a remarkable lyrical flow. The focus is very much on Rayne’s passionate deliver and the stories held within, the bare bones guitars providing the perfect counterbalance. If Sweden were to stake a claim on Bob Dylan reincarnate with Kristian Mattson, then I think we have to say that Beirut now have themselves a real rival. Get it via Bandcamp.

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As the band name and verbose song titles suggest, Hope Only Brings Pain is an instrumental album that aims somewhere between post-rock stalwarts Mogwai and GSY!BE and chirpier electronic acts such as Animal Collective and Cut Copy. It’s either dancable post-rock or exceptionally dark and brooding dance music. The album refuses to settle into an identifiable rhythm, changing styles from track to track.  One moment it could be a popular festival hit and the next it could soundtrack some neon-drenched sci-fi dystopia, Hope Only Brings Pain is constantly morphing just when you think you have it pinned down and comparable to something else.

The album is scheduled to be released on 14th March, 2013 so keep an eye out for it.

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